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Does it mean that any music that hasn’t been used reverts back to the writer?
Only if the contract states so.
I’m considering signing up for BMI. Can this have any disadvantages for me? Am I still allowed to publish my own music?
From my point of view no. But some say RF sales might be better with no PRO affiliation.
PROs have no impact on your publishing rights.
AND some guy backed into my car with his pick-up truck at a stop light!
Ouch! Sorry to hear that Michael.
What currently works for me is to try and write every day and not to push it when I do. There are times when it’s only an hour or two but spiritually I always feel better when I can get some writing in at least once a day. I have learned to stop when the ideas stop, trying to push through it has never worked for me. Invariably the next day brings new ideas and a fresh outlook. I don’t remember the last time I had “writers block”.
In the morning I do my music admin work and whatever home maintenance, gardening (good for the soul!) or other necessary chores. I generally write from about 2:00 PM to 6:00 PM, never past 6:00 though. I’m always plunking around on the guitar when I’m watching TV (thankfully Robin doesn’t mind) and get a lot of ideas there. I have Audacity running on my laptop and will play in any useful ideas for later.
The most important thing I have learned is to believe in the creative process. If you do, the music will always flow!
“Do you think that having the PRO tag associated with your material hurts your chances of getting sales @ those types of sites?”
Hard to know if it hurts sales. I do know that I have had music purchased on RF sites show up on the air and it did show up on my PRO statement.
“and finally what if the purchaser simply refuses to file the cue sheet?…”
I’ve hunted them down but not easy to do without a Tunesat account. Also the sting you thought you heard was probably only worth pennies in PRO money. You have to ask yourself what your time is worth to chase that down.
@Jay: The JP thread should not have happened and it was my fault for not catching it. I do apologize. If I could move it to the JP listing I would but unfortunately moving a forum topic to a blog post (the library listings) is not possible. If you see any other library questions in a topic let me know and I will either close it (if it’s old with many replies) or delete it if it’s new. I think it’s very important to keep things organized this way. Once again, it’s the only way to build a comprehensive knowledge base of composer’s experiences.
As for access there are a number of ways to gain free access. Please see: https://musiclibraryreport.com/blog/earn-free-access-to-mlr/
Thank you
Some will disagree with but I like to think anything’s possible with just about any gear. It’s all in how you use it.
Back in the 80s the Roland TR808 drum machine came out and was a hit until the DMX and Linn drum machine were released. At that point everyone (including me) got rid of their 808s. They became dirt cheap, were adopted by folks who didn’t have much money and became the mainstay of rap music. Those sounds are still used today.
Yes. Everyone stay dry and safe!
This topic is closed. It should have really been under the JP library listing in the first place.
Generally, you can re-submit at a later time.
I’m on a bunch of episodes on that series but according to Tunesat it didn’t start until the second quarter of this year. Should show up on the next BMI statement. Can’t see all the cue sheets on BMI’s site.
@smiley J. You are starting to sound a bit like our old friend Yadgyu. Coincidentally your IP address and his two IPs are from the same general area in Michigan. Could it be?
Doesn’t matter AFAIK. I have a number of cues that have not been registered as sometimes, it appears, that shows assign their own name to a cue.
In response to ASCAP’s decision- I love the process of creating music, both songs and instrumentals. And I have built a decent middle-income career and business around this industry and skillset. And I did so based on a certain understanding of ASCAP’s distribution structure. And now, ASCAP has pulled the rug out from my career, reducing my payments (a huge piece of my overall salary and business model), by 70%. This is completely outrageous in a time when the value placed on music is diminishing by the day.
I hope things work out for you. That is a huge drop in income. Perhaps you can find ways to diversify your income through live performances. I see that ASCAP is going to start allowing composers to collect money for live performances.
Ya know. When Paul first got elected as president of ASCAP I nudged him a bit on this (I’ve known him for years, toured and played on many of his albums). He said he knew of the problems and wanted to make things better. Doesn’t seem to have been much of a change from the stories I hear. Glad I stuck with BMI!